UPFRONT XXXX

Save the date

The UK celebrates the first
ever National Album Day on
Saturday 13th October.
To mark 70 years of the iconic format,
National Album Day will celebrate 70 years of
favourite new albums, favourite first albums,
the albums that changed your life and the
ones you just could not live without.

Join in the celebrations at

@AlbumDayUK across the socials
and using #NationalAlbumDay

2 OCTOBER 2018
 UPFRONT

EDITOR’S
PUBLISHER
Hey Music
LETTER
EDITOR
Lesley Wright
lesley@heymusic.com

MARKETING DIRECTOR
Darren Haynes
darren@heymusic.com

IN-HOUSE
CONTRIBUTORS
Chelsea Garwood
chelsea@heymusic.com
Aiez Mirza Ahmed
aiez@heymusic.com
CONTRIBUTORS
Aasha Bodhani, Jim
Butler, Kristan J Caryl,
Mosely Trybez, Nick Rice
and Sara Raffaghello
@heymusicofficial
@heymusictweets
@heymusicofficial
@heymusicofficial
www.heymusic.com
LOCATION: London
Hey Mag is published by Hey
Music. All rights reserved.
Reproduction in whole or in part
without written permission is
prohibited. The publisher regrets
that they cannot accept liability for
error or omissions contained in this
publication, however caused.
The opinions and views within this
publication are not necessarily
those of the publisher or editors.
All credits are accurate at the time
of writing but may be subject to
change.
Where does music take you? Truth is, it can take you
anywhere and everywhere. It’s a catalyst for new and
never-ending adventures.
I’m curious as to which gigs, clubs or festivals have rocked
your world recently? My most recent big music adventure
was a trip to the legendary – and somewhat intense – Burning
Man festival, in the Black Rock Desert, Nevada, where I
bounced around between stages and camps, bonding with
complete strangers over bowel-shaking basslines.
Seven days at Burning Man can also be a bit of a physical
challenge. After my own experience, I imagine it to be
quite like giving birth – painful towards the end but with an
extended family once it’s over.
My newfound friends and I are now plotting to lock in a
reunion at another festival somewhere in the world. It’s music
that’s brought us together.
But you don’t have to physically travel for music to
transport you elsewhere. Oftentimes, music will sweep me
off on my own little adventure through my imagination via a
number of emotions. And that can be just as powerful.
On that note, more power to Paul Weller, who’s still
smashing the album charts after 40 glorious years in the
music business.
Yup, it’s fair to say that cover star Paul Weller and Kathy
Sledge, who also features in this issue, are bona fide legends.
While we salute their incredible careers, we’re also keeping
our ears pinned back for the legends of tomorrow.
Have you discovered a hot young artist with that sort of
potential? If you have, tip us the wink here at .
We’d love to hear from you.
Lesley Wright

HEYMUSIC.COM 3
UPFRONT XXXX

PRS for Music members Dreamwife performing at PRS Presents

FOR MUSIC

Music wouldn’t exist without the work of songwriters,

composers and publishers. We’re here to represent them
and ensure that they are rewarded for their creations.

BECAUSE MUSIC MATTERS

prsformusic.com
4 OCTOBER 2018
 UPFRONT

CONTENTS
UPFRONT 6
6 NEWS
What’s cooking across the UK
and around the world.

FEATURES
12 FINDING MEANING
British icon Paul Weller reveals what’s
30
on his mind following the recent
release of his new album,
True Meanings.

18 DIFFERENT CLASS
Errollyn Wallen claims classical music
belongs to everybody.

22 AIMING HIGHER
Arguably one of Liverpool’s most
talented sons, Bill Ryder-Jones
creates music for elevation.

26 AN IDLE MIND
Bristol’s independent record label Idle
Hands celebrates its 50th release.

30 MUSIC BY NUMBERS

12
Amazing stats behind the incredible
Amsterdam Dance Event.

32 LOST IN MUSIC
Kathy Sledge has music coursing
through her veins. 32
34 LET’S TALK ABOUT IT
Mental health in hip-hop is a growing
concern. Mosely Trybez says it’s time
to be more vocal on the issue.

36 MAKE BELIEVE
It’s been a whirlwind year for Ramz.
34
BACKSTAGE
38 BOSSING IT!
Nikki Wright-McNeill recaps her road
to career satisfaction in music PR.

HEYMUSIC.COM 5
UPFRONT AROUND THE UK

DISCOVER: AUNTIE FLO

Radio Highlife (Brownswood, 2018)
Auntie Flo’s latest is his most authentic distillation of afro drums to date. Airy rhythms
are run through with collaborators from Senegal, Cuba and London, while tracks range
from broken beat to string-laced soul and feature found sounds from Moroccan markets
and bustling townships, adding up to an essential and worldwide musical adventure.

BESTIVAL LIVES ON!

Good news, party people! Bestival and
Camp Bestival live on. Both English music
festivals have been snapped up for £1.1
million after the company behind the much-
loved events was placed into administration.
It’s reported that Richmond Group is buying
the festival business, after lending Bestival
Group £1.6 million last year. Richmond
Group’s James Benamor said he was a long-
time fan, adding: “We are keen to ensure this
fantastic institution goes on.”
Launched on the Isle of Wight in 2004 by
Rob Da Bank, Bestival relocated to Dorset,
in 2017. Chaka Khan and Grace Jones
headlined this year. The family-orientated
Camp Bestival launched in 2006, with
Simple Minds and Rick Astley delighting
this year’s crowds.

6 OCTOBER 2018
SWEET LIKE
HUNEE
London’s XOYO has been
reviving the beauty of the DJ
residency for a while now
and next in line is Hunee.
The Rush Hour associate
is one of the most loved
selectors in the scene.
Constantly bemused by his
own success, he spreads
messages of peace and
unity through his persona, as
well as his carefully dug out
and expertly crafted sets,
which never fail to leave a
lasting impression
From Latin to techno, afro
to disco, forgotten soul to
rare funk, he can do it all, MASSIVE ATTACK
often in the same set.
His 10-week residency
starts on 12 October and
MILESTONE
plays out each Friday until 14 Massive Attack’s first three albums from 1991 to 1998
December. Joining him will have to be up there as one of the strongest runs of records
be an unsurprisingly eclectic any band has ever put out. Each one very much helped
mix of DJs who cover house, to define the trip-hop sound. Dark yet beautiful, intense
tropical, Balearic, techno, yet alluring, and oozing standout songs that still sound
cosmic, wave music and futuristic today, they continue to inspire and influence
plenty in between, such generations of music makers.
as MCDE, Palms Trax, DJ To mark the 20th
Nobu, Antal, Juju & Jordash, anniversary of Mezzanine, the
Ruf Dug and Cosmic Slop, latter of the three, the Bristol
amongst a fine list of others. group has announced that a
special double CD and vinyl
box-set reissue is planned
for November. The double
CD includes the original
album, with classic tracks
like Angel, Risingson and
Teardrop newly remastered,
plus previously unreleased
Mad Professor remixes from the same period (Mad
Professor also remixed their 1994 album Protection as No
Protection). The triple vinyl box-set, which comes a month
later in December, will have a heat-sensitive cover and
new imagery from Robert Del Naja and Nick Knight. Earlier
this year, the band also revealed that they were encoding
the album into DNA with the help of a Swiss firm, which is
nothing if not intriguing.

HEYMUSIC.COM 7
UPFRONT AROUND THE UK

PUSHING THE
BOUNDARIES
From the synth pop days
of The Human League via the
IDM movement spearheaded
by Warp Records, on
through bleeps and bass
and The Black Dog’s techno,
Sheffield has always had
a vital music scene with a
unique character.
Continuing in that tradition
of forward-thinking and
experimental music is No
Bounds festival. Its debut
last year made a real impact,
and the 2018 edition, running
12 – 14 October, is worthy of
anyone’s attention.
Additions for this year
include a special Improv
Stage, while the rest of
the festival plays out over
eight venues across the

NEW AMY
city, including Hope Works,
Trafalgar Warehouse and
Heeley Swimming Pool.

DOC ON
There’s an extensive
programme of talks, film
screenings, panels and

THE WAY
workshops planned, with
topics covered including
coding and modular
synthesis, while thought-
Keep your eyes peeled for a new film about the life provoking artists like Aïsha
of the late soul singer Amy Winehouse. Called Back Devi, rhythm innovator
to Black, it tells the story behind her final album of the Errorsmith (above), New
same name and features previously unseen footage and York outfit Machine Woman,
interviews with the likes of Mark Ronson, who produced China’s live specialist Object
the album. A bonus feature shows footage of Winehouse Blue, Planet Mu boss Mike
playing a small show at Riverside Studios in London, in Paradinas and Berlin’s Paula
2008. Release date is 2 November. Temple all line-up.

8 OCTOBER 2018
MUSE PROMISE
EPIC NEW SHOW

With new album Simulation Theory due to
drop on 9 November, Muse are promising
“something that no-one’s ever seen before”
when they hit the road next year. Their highly-
anticipated European and North American
album tour will stop off at three cities in the
UK – Bristol, London and Manchester –
although dates had yet to be revealed as this
issue went to press.
Teasing fans about the upcoming tour,
frontman Matt Bellamy promised it would
“blow people’s minds”. He added: “We’re
lucky because we’re living through this time
where there’s all this new technology. Every
time you come to do a tour, there’s always
something new you can use.”
The album is produced by Mike Elizondo,
Rich Costey, Shellback and Timbaland.

REDISCOVER: JOHN BELTRAN

Ten Days of Blue (Peacefrog, 1996)
A melancholic electronic masterpiece with moments of breezy bliss, Latin-inspired melodies and sophisticated
ambient soundscapes. It’s beatless yet dynamic and compelling, with a fragility and lightness that makes it
feel heavenly. Fans of early Four Tet will love its mix of synthetic and instrumental sounds, as will anyone who
has ever had their heart broken. 
range from broken beat to string-laced soul and feature found sounds from
Moroccan markets and bustling townships. It adds up to an essential and worldwide musical adventure.

HEYMUSIC.COM 9
UPFRONT AROUND THE WORLD
Aya Nakamura
Rosalía
NEW ANNUAL MUSIC
PRIZE ANNOUNCED
The arrival of the new Music Moves Europe
Talent Awards is a positive step for the next
generation of artists emerging from Europe.
Its aim is to “celebrate emerging artists
who represent the European sound of today
and tomorrow”. In all, 24 artists have been
nominated in six categories including rock,
pop, electronic, r&b/urban, hip-hop/rap and
singer-songwriter. The nominees include
postrels Lxandra from Finland and Danish
artist Soleima, with French R&B singer Aya
Nakamura and Spain’s Rosalía facing each
other in the R&B/urban category.
10 OCTOBER 2018
Lxandra
Winners will be presented with their awards
at a ceremony during the opening night
of Eurosonic Noordeslag in January 2019.
They’ll also each be rewarded with a tailor-
made training programme and financial
support for touring and promotion. There’s
also a special public choice award.
The awards are implemented in close co-
operation with the European Commission and
financially supported by Creative Europe. The
hope is that the Music Moves Europe Talent
Awards will “enhance creativity, diversity and
competitiveness” in the years ahead.

BIT OF ROUGH
Parisians can look forward
to Rough Trade opening
up in the French capital.
With music stores in East
and West London, Bristol,
Nottingham and New York,
Rough Trade’s international
expansion continues
following investment from
French media and events
company Les Nouvelles
Éditions Indépendantes.
The French store has been
advertising for staff.
GET CARTER
It’s been a long time
coming – four years, in fact
– but American rapper Lil
Wayne has finally released
his Tha Carter V album, after
it was locked in a lengthy
legal battle with Cash
Money Records.
Taking to Twitter, Wayne
said: “With this album I’m
giving you more than me.
This is years of work.”
Nicki Minaj, Snoop Dogg,
Kendrick Lamar and the late
XXXTentacion make guest
appearances on the album.
MICRO
VIBES IN
THE UAE
Boasting an “all-encompassing array of immersive
environments that showcase the intersection of music,
art and innovative technology”, MICRO MUTEK.
AE returns to various venues in Dubai for six days of
bleeding-edge sounds, in October.
‘Hemisphere 141’ brings a tri-dimensional and high
definition dome to Dubai World Trade Centre [14 – 17
October] for a string of 360° immersive live performances
in association with the Society for Arts and Technology
from Montréal, while Digi Lab offers amateurs and pros
the chance to get their hands on the future of music
production technology and dip into workshops hosted by
legendary electronic producer A Guy Called Gerald.
Nocturne 1 & 2 at Stereo Arcade nightclub, on 18 and
19 October, promises “a different slant” on clubbing
and there’s more jaw-dropping immersive AV magic
from Italy’s Michela Pelusio (pictured below), at Dubai
Knowledge Park Amphitheatre, on 19 October. This
year’s event is in association with GITEX Future Stars,
the fastest-growing start-up event in the region.
Mehdi Ansari, co-founder of Dubai’s renowned Analog
Room and co-founder of MICRO MUTEK.AE said:
“We’d like to shift the emphasis away from clubbing
and partying and towards a new perspective on the
way electronic music and audiovisual practices can be
profound, inspiring and revelatory.”
HEYMUSIC.COM 11
FEATURE PAUL WELLER

FINDIN
MEAN
12 OCTOBER 2018
 With The Jam,

Words_Andrew Arthur/PA/The Interview People

The Style Council and
as a solo artist, Paul Weller
is regarded as one of the
most influential British
musicians of his generation.
Following the recent release
of his True Meanings album,
discovers what’s on
his mind

NG “
If there was ever a time in life that I might
be reflective, it would be around turning
60. Which is pretty monumental.
“I think it’s also quite distressing, I

ING
suppose, the thought of my mortality.
Without being morbid, which I don’t feel it is.
But I can’t help but think about how f******
quick it has all gone, more than anything.
And how much more have I got left?
“I don’t spend too long pondering on it.
There’s no point. But it’s certainly a time
when you have to take stock of that.”
Having become a sexagenarian this year,
‘The Modfather’ has entered a period of
his life where, for once, he is momentarily
looking back. Weller acknowledges reaching
the milestone did impact upon his latest
album, the recently released True Meanings,
a collection of intimate, acoustic songs.
“It certainly informed some of the themes
on the record. I don’t think it’s particularly
nostalgic, but it’s definitely reflective.”
His fourteenth solo album and twenty-

HEYMUSIC.COM 13
FEATURE PAUL WELLER

“If it’s in your blood,

it’s a hard thing to stop
doing, whatever level
we’re talking about”

third studio album, True Meanings was

sitting at No.2 in the UK Album Charts as
this issue went to press. Celebrated for an
eclectic body of work over his solo career,
his latest longplayer, with its delicate but lush
orchestration, has been described in some
quarters as “folk-rock”.
In a behind-the-scenes mini film about the
making of the album, Weller admits: “I don’t
know what sort of genre it is, I have no idea.
For me, they’re just good songs, you know,
lyrically, melodically, quite simplistic.
“Whenever you get an acoustic guitar out
and some strings, it always sounds kinda
sad anyway. But I don’t get a sadness from
it. I think it’s quite the opposite for me. It’s
just stating where I am at the moment, really.
One man’s journey up to this point.”
In fact, it’s Weller’s most collaborative
album to date, input coming from Rod
Ardent of the Zombies [Soul Searchers and
White Horses], folk legends Martin Carthy
and Danny Thompson [Come Along], Lucy
Rose [Books] and Noel Gallagher [White
Horses and Books].
After accumulating songs over a five-year
period, Weller enlisted the help of co-writers
to finish some of them. One of the four joint
efforts on True Meanings is Bowie, which There was all this activity and I thought,
Weller composed with singer-songwriter ‘Great, he’s well again and he’s back on it’.
Erland Cooper. The song is a tribute to the So it was a shock for me when he died and I
late David Bowie – cleverly incorporating was saddened by it.
some Bowie quotes into the lyrics – as “When me and my wife had twin boys six
well as a broader reflection on loss. Like years ago, he sent us a very nice bunch of
Weller, the Starman enjoyed a long-lasting flowers and a card saying congratulations.
career defined by transformation and Weller That was really sweet. One of our boys is
confides Bowie’s death in 2016 affected him. called Bowie as well, obviously named after
“It made me sad for an awful long time. him. My wife is an even bigger fan than me.”
Because he had done so little for so long Age does not seem to have mellowed the
and then he came out with The Next Day fire in Weller’s stomach when it comes to
and then a couple years later with Blackstar. politics. Many of his songs with The Jam

14 OCTOBER 2018

Tom Ford, aka Peverelist,
were noted for lyrics about working class life.
The Eton Rifles, released in 1979, offered a
withering attack on a privileged social elite.
He’s still vocal about the political climate in
the UK.
“This government is hopeless. All of
them. Look at them, they’re like ridiculous
caricatures of silly toffs. We’re all sick of it.
I think it’s time for a change. But to expect
that any one party is going to wave a wand
and it’s all going to be different is absurd.
I think people have just got to do it for
themselves, really.
AT A GLANCE
1970s Weller puts together the first incarnation
of The Jam in 1972. Their first single, In The
City, breaks into the UK Top 40 in 1977. Other
tracks also dent the Top 40 but it’s The Eton
Rifles that gives the new wave/mod revivalists
their first Top 10 hit – peaking at No.3 in 1979.
1980s The band chalks up their first No.1 with
Going Underground in early 1980 but The Jam
disbands at the end of 1982. They go out in
style with Beat Surrender earning them their
fourth UK chart topper and sell-out concerts at
Wembley Arena and the Brighton Centre.
Weller forms The Style Council in 1983 and the
band experiments with pop, jazz and blue-
eyed soul, scoring seven UK Top 10 hits, and
performing at Live Aid, Wembley Stadium, in
1985. But the band’s popularity wanes in the
late ’80s and they find themselves without a
record deal.
1990s Having gone solo, Weller’s 1992 self-
titled jazz-guitar album reaches No.8 in the UK
album charts. His fourth solo album – 1995’s
Stanley Road – marks a return to his more
guitar-based style and hits No.1, becoming
the best-selling album of his career. Two other
albums sit comfortably in the Top 10 before the
decade is out.
2000s His Illumination [2004] and 22 Dreams
[2008] longplayers both reach the top spot in
the UK Album Charts. In 2006 Weller receives
the Lifetime Achievement Award at the BRIT
Awards and he’s back in 2009 to pick up the
gong for Best Male Solo Artist.
2010s After taking home the Godlike Genius
Awards at the 2010 NME Awards, Weller
releases his Wake Up The Nation album and
is nominated for the Mercury Music Prize in
the same year. He’s presented with the Ivor
Novello Lifetime Achievement Award in 2010.
His Sonic Kicks album hits No.1 in 2012, and
another four albums follow before the recent
release of True Meanings.
HEYMUSIC.COM 15
FEATURE PAUL WELLER

“Compared to the 1970s

and 1980s, there’s a lot of
things that are way better now.
People’s attitudes in general
are better. People are fairer
and open-minded; they’re
well-travelled. I think, generally
speaking, there is less racism.
“I don’t believe in the idea
of ‘divided Britain’ – I think
that’s a lot of boll**ks. I could
cite many examples of people
being totally united, all colors,
all religions, everyone. ‘Divided
Britain’ is just another tool
of the Tories and right wing
propagandists.”
From the new album, Books
reflects on how governments
have twisted and manipulated
religion into a catalyst for
wars. “The starting phrase for
most religions, whatever way
it’s phrased, is ‘thy shall not
kill’. Which sounds like a pretty good place some of that’s down to it being disposable;
to start,” reckons Weller. “Who am I to knock you don’t have to pay for it. Music doesn’t
other people’s faith? I wouldn’t do that. I have the same cultural value, possibly.”
think whatever makes people happy or gets Had he not become a successful musician,
them through their lives is ultimately a good Weller says he’d be “playing in pubs and
thing, I suppose. But the way it’s used and clubs in Surrey. I’ve got mates who were in
abused and manipulated by the people in bands at the same time as I was and are the
control is the antithesis of what it’s supposed same age as me now. They still play gigs at
to be about.” the weekend. They’ve got day jobs but still
Weller offers a measured response when love going out playing. If it’s in your blood,
asked if he feels contemporary politics it’s a hard thing to stop doing, whatever
and society is level we’re
not reflected in talking about.”
popular music For many, Weller
as it was in “Humility is a quality that is also considered
previous decades. we must find at some a fashion icon
“I don’t think but does he find
that’s true in hip-
point in our lives. It’s a it unusual seeing
hop or grime, is good thing to learn” men with haircuts
it? Those artists he has inspired.
seem to be still Laughing, he
telling it like it is. But in pop or rock? I guess says: “Yeah, sometimes. What can I say? I’ve
not. I think it’s inevitable, really, after 20 years copied so many of my heroes’ haircuts.
or so of wishy-washy politics. Sometimes with success, sometimes it’s a
“You have to ask, has music still got that complete disaster. But I don’t walk around
cultural force? I think the last shout on all thinking I’m a style icon. Humility is a quality
of that was in the 1990s. I don’t think music that we must find at some point in our lives.
holds the same place for people. I think It’s a good thing to learn.”

16 OCTOBER 2018
 HEY UPFRONT

HEYMUSIC.COM 17
FEATURE ERROLLYN WALLEN

DIFFERE
CLASS
Singer-songwriter, classical
composer and workaholic,
Errollyn Wallen pauses for
breath to speak to
Words_Jim Butler

18 OCTOBER 2018
ENT
Tom Ford, aka Peverelist,

Anyone that’s paid attention

to British composer
and musician Errollyn Wallen’s prolific career
would know that her appetite for composing
and performing is insatiable. Her love of the
creative process – however painstaking and
drawn-out it might be – is undiminished.

S
“I’m just loving composing at the minute,”
she avows cheerfully from her home. “As you
get a bit older you become more aware of
the options there are [in composing]. I don’t
allow myself to get stuck. I have realised that
a composition is a many-layered activity,
so even if I’m thinking I don’t know what
music should follow here, I can think about
the dynamics of the piece, the tempo. I’ve
become more patient.”
She remains incredibly busy. When we
speak, at the beginning of October, she
outlines her fertile year to date. She’s already
written 13 works, is in the planning process
of staging shows for the next two years and
just two days ago returned from Wyoming,
where she’d been on an artists’ residency.
“To be in place where everyone understands
artistic endeavour was wonderful,” she

“I would love every

child to have access
Photos_ Dominic Harris

to learning a musical
instrument for free”

HEYMUSIC.COM 19
FEATURE ERROLLYN WALLEN

expounds enthusiastically
when explaining the premise
of the residency.
She was surrounded by
fellow musicians, writers,
painters and the like.
Not only did this have
the invigorating effect of
illuminating the creative
spark, the retreat, near
the panoramic Bighorn
mountains, gave her
something even more crucial
to any artist: time.
“I spend so much time
organising things that being
at the residency freed me
up from the day-to-day drag
of shopping and all of that
stuff. I had my own log cabin,
with a grand piano and my
own bedroom and my own
facilities, and then I could
join everyone later… all our
meals were cooked for us, so
it freed up so much time.” – one a visual artist and the other an author –
And while the point of the month-long and I was thinking there has to be ways that
residency at the Ucross Foundation (Wallen we can work together in the future.”
did manage to escape rural Wyoming and For Wallen, her work is everything. The
make it over to the bright lights of Los beautiful mundanity of everyday life might
Angeles to perform at the American prevent her from devoting as much time to
premiere of her Concerto Grosso) was to her searing compositions as she’d like but
work productively, she struck up a number she remains productive. She’s got better at
of friendships (“some lifelong”) and there’s snatching moments of time to work on her
even talk of collaborative relationships music when they present themselves.
down the line. She’s nothing if not driven. A cod
“There was a singer who was so incredible psychologist might explain her determination
that I want her to sing on my next album,” away by her upbringing, which while
she says. “And there were two other artists not unconventional, was certainly not

20 OCTOBER 2018
emblematic of the traditional path trod by Classical music, she avows, belongs to
classical musicians. Born in Belize (then everybody. And as someone whose status
British Honduras), her parents brought her to as a black British female composer means
London when she was two, where she was she’s often championed the cause of the
raised by her aunt and uncle in Tottenham. underdog and the outsider, she’s being
Although the early ’60s are ostensibly sincere. She was the first black woman to
defined as a period of colourful pop and rock have a piece – Concerto for Percussion and
& roll awakenings, it was orchestral music’s Orchestra – performed at the Proms back in
power, drama and its 1998 (“I remember
sense of storytelling thinking I’d better
that switched a light remember this
on in Wallen’s head. “Music is the very because no-one else
“There were so will,” she modestly
many amazing essence of life. recollects). She was
colours,” she It’s not an add-on” commissioned to
recalls. “I thought write for the opening
it was incredible. I ceremony of the
remember going to 2012 Paralympics
ballet lessons and dancing to Chopin and and alongside her Ivor Novello Award, she’s
loving the music. I got the bug and I liked also an MBE.
the way you could go on a journey with this “I would love every child to have access to
music and each journey was so different learning a musical instrument for free,” she
and each composer would give you a declares forcefully. “To me, music is the very
different journey. I had no thought of being a essence of life. It’s not an add-on.”
composer. Nobody in my family really knew An adjunct to this is her belief that “more
what a composer was. I just got on with it in experienced musicians have to look out for
a way.” our younger counterparts”, she says.
And yet she was actually composing. When “We have to realise we’re all in a
she was just nine years old she wrote a piece continuum together,” concludes Wallen. “It
for her class at school to sing and perform. feels good to hand on whatever knowledge I
At school she learned piano and then the have, and I feel very invigorated by some of
violin. That’s why she says she’s heartbroken the young composers I’ve been working
at how the arts – granted, in the face of with. I’m very excited about the future of
brutal and sweeping government cuts – music, to be honest.”
have been marginalised in
British schools.
“I learned those
instruments back in the days
when any child could learn
an instrument. For free. So it
upsets me more than I can
express. Because what it
also means is that classical
music is, and I see it in the
students I teach, becoming,
or has become, the preserve
of the middle class with
extra income. We have lost
a whole generation of talented
people because music training
is very intensive.”

HEYMUSIC.COM 21
FEATURE BILL RYDER-JONES

WITHOUT
MUSIC LIFE
WOULD BE
A MISTAKE
An in-demand producer,
composer, multi-
instrumentalist and an
unfailingly authentic
solo artist, Bill Ryder-
Jones discusses
integrity, his journey
with mental health and The back-terrace
filling the six hours of garden of the café
silence before bedtime in West Kirby where we meet up with Bill
Words_Nick Rice Ryder-Jones is lively for a Monday morning.
Bill is still bunged up from a cold he caught
just before a string of recent live dates.
He made it through the gigs though, so an
informal chat is no bother. Bill and I have had
several long talks since his solo career began
in 2011 with If… – the sublime orchestral
album conceived as a soundtrack to the

22 OCTOBER 2018
Italo Calvino novel, If on a Winter’s Night a
Traveller, so with coffee on the table, we’re
straight into it.
On 2 November Domino release Bill’s
fourth LP, Yawn. Like its predecessors, A
Bad Wind Blows in My Heart and West Kirby
County Primary, one of the most distinctive
things about the album’s songs is that as
well as making you listen, they make you
feel. There’s an emotionally wrought quality
that elevates the work.
Reflecting on the push and pull between
writing songs for pure artistic expression and
the hovering notion of what people might
want to hear, Bill says: “I can never write the
stock little song that isn’t personal because
I think people will now feel short-changed.
At the start of every album I get a call from
my manager, who says, ‘You know everyone
at radio loves you and they’re desperate to
play your music,’ so, I think, ‘I’m 35, I own
nothing, I never have any money – maybe I
should see this a bit more as a career and
try and do something that might enable me
to learn how to drive or something… adult’.
I always do try at the start of a record to do
HEYMUSIC.COM 23
FEATURE BILL RYDER-JONES

something more accessible, but inevitably

I realise that it’s not what I’m good at. Then
I make a record based on how I’m feeling –
and that’s what the records are always.”
This integrity behind Bill’s musical output
– which in 2015 saw him scrap an album’s
worth of material because it wasn’t right
nor honest enough – means that what does
make it onto record is redoubtably the
artist’s uncompromised intention. While the
commercial aspect of his career, and the fact
the critical acclaim doesn’t pay the rent may
rankle, it doesn’t knock him off course.
“I left The Coral with six grand… that was
after a huge career with multiple hits. I didn’t
have a manager or a lawyer at the time so
you can read between the lines there. The
real issue in my life though is that six hours
before bed. How do I fill that silence?”
It’s no small thing to choose artistic
integrity over fortune and his stance on
the matter prompts a question about
philosophical convictions. “The only
thing that ever really made sense was
existentialism, but I’ve never been able to
put it into practice because I care about
people too much,” he explains.
The reply brings to mind the German
philosopher Friedrich Nietzsche, who was
fundamental to the existentialist movement.
“God has given us music so that above
all it can lead us upwards. Music unites all
qualities: it can exalt us, divert us, cheer
us up, or break the hardest of hearts with
the softest of its melancholy tones. But
its principal task is to lead our thoughts to
higher things, to elevate, even to make us
tremble,” Nietzsche wrote, aged 13.
Bill’s enduring focus, and his appeal, is
firmly fixed on creating music for elevation.
“I believe wholeheartedly in music and the “It’s a bit of a weird time for me,” muses
creation of music and what that does for Bill. “I looked at myself last year and I
me,” he says, adding: “Without sounding couldn’t really recognise myself, not in any
like a 16-year old that’s just discovered The dissociative way, more like, ‘I’m 35 and I
Smiths, melody is my God. That’s the thing remember being 18’. And for a moment I was
that makes me feel better.” like, ‘God, remember who you were at 18?’ I
Bill’s struggles with his mental health have was very sensitive and very caring and I think
been widely covered in the past and he’s I became quite hardened and quite resentful.
always been candid about the episodal Particularly with the money thing… just look
dissociative disorder he’s suffered from. at the musicians who are full of money and

24 OCTOBER 2018
 Photos_ Ki Price
void of talent. Or not even talent, just void
of any real purpose in the furtherment of art
and bringing people together, aside from
people who just want to go out and ‘have it.’
“Anyway, I made the conscious decision
to be more like I was when I was 18 and
subsequently stopped drinking for half
a year. I also decided to stop taking my
medication because I realised that I’d been
numbing myself in various ways for the best
part of 15 years. And it was a real conscious
decision to not be numb. And after six
months of it, I’m going ‘Hell! I remember how
hard it was to be 18’. I’m really like, ‘S**t, the
world is cruel and I’m a delicate little pansy
who’s been pretending that they’re hard and
weathered for 15 years’.”
Whilst he’s coughing and laughing about
how hard it is to get by day to day, Bill is
actually feeling very positive about the future.
“I’m in a mode of thought now where I
probably won’t have my opinion changed by
anyone… after a long period of numbness I
just have to be alive and feel life again. That’s
going to take me wherever it does – and
that’s who I am – and it’ll be good.
“There are a lot of musicians who are
similar to me, who do think there is more to
being a musician than having the big stage
thing and playing a character. Musicians that
“Without sounding like
a 16-year old that’s just
discovered The Smiths,
melody is my God”
want to be part of the dialogue of humans
trying to understand their place in the world.
Bill mentions artists such as Gruff Rhys,
Eros Childs, Nick Cave and Geoff Barrow,
and clarifies: “The people who did what they
did regardless… people who did what they
did to fill that silence that I talked about.”
Those daily six hours of his before bed
may soon be filled with work on another
orchestral concept album. The inspiration for
which is another book, this time a collection
of essays by Aldous Huxley.
With steely certainty in his clear eyes, Bill
winds up our conversation saying: “The
Huxley book is called Music at Night but I’m
going to title it The Rest is Silence because
there’s this beautiful phrase he says, this is
not verbatim but it’s, ‘Nothing comes as
close to expressing the inexpressible as
music… the rest is silence’.”
HEYMUSIC.COM 25
FEATURE IDLE HANDS

AN
I D L E
M IN D
Stories of independent record labels and shops
closing down are all too commonplace these
days. With its 50th milestone release, Bristol’s
Idle Hands is bucking that trend. enjoys the
journey with founder Chris Farrell
Words_Kristan J Caryl

26 OCTOBER 2018
“
“Boredom was
definitely a factor,”
says flame-haired and influential Bristol
DJ, producer and record store owner Chris
Farrell of the reasons he started his Idle
Hands label back in 2009. “Wanting to
put a record out that Hardwax stocked
was another.”
At the time he was working at the Rooted
Records shop and doing political organising
the rest of the week. “I think I needed
something else.”
This month, the label puts out its 50th EP,
which is a mini miracle in the current climate,
where scores of new labels pop up every
and the late Joni, forme
month, and the resurgence of vinyl means
cutting and pressing records is, conversely,
harder than ever.
It was his boss at Rooted Records – Tom
Ford, aka Peverelist, who produced the
first record on the label, and is behind the
50th – who kicked him “up the a***” and
gave Farrell the motivation to start the label.
Eighteen months later, when Rooted had to
close, Farrell also went on to set up a record
shop under the same name, and it is now a
vital hub in the city.
From day one, Idle Hands had a broad
remit. The first few releases encompassed
technoid dubstep, deep house, tropical
UK funky and slo-mo 4/4 beats, and that
variation continues to this day. Farrell – a
big fan of reggae, sound system culture and
post punk, as well as more traditional dance
music – says that was always the plan.
“I like too much different music to just
settle on one thing,” he says, before
recognising that he might have had more,
and quicker, success had he stuck to one
sound, but that the label would have likely
gone out of fashion well before getting
anywhere near the current milestone.
That IDLE50 EP features Left Hand, a
joyous, Bristol-style piano house cut with
a booming bottom-end, and Right Hand,
a dubby techno jam that is pure UK style.
HEYMUSIC.COM 27
FEATURE IDLE HANDS

It follows in the label’s tradition of putting I started going out to drum & bass raves in
out music that’s most often produced by the late ’90s it was already a bit sh**. Older
friends and locals turned globe-trotting folks would be telling us about how good
talents like Kowton, Hodge, A Sagittariun, the old days were, everything was better
Shanti Celeste and Facta. Bumping vocal and so on. So to see a scene like dubstep
house, churning drum rhythms, deep techno, emerge, being made my people who were
ambient albums and sparse drone tracks my contemporaries, was really exciting.”
have all featured along the way, making the Because his own tastes remain so broad,
label as diverse and individual as any in Farrell didn’t personally struggle when the
the scene. spotlight moved on. “If anything, it was fun
When Idle Hands started, Bristol was the watching other people realign,” he says.
centre of the dance music universe. It was “The label has always been about the subtle
the home of the most exciting dubstep and changes that happen in dance music, so it
bass-heavy house and techno in the world. doesn’t scare me. Dialectical materialism
But the fast-moving taught me that
dance music world change is the
takes no prisoners, “Dialectical materialism only constant
and just a few years so you have to
later the scene taught me that change is embrace it.”
had moved on the only constant so you One thing that
and artists, record doesn’t change
stores and labels
have to embrace it” is the need for
were trying to find capital to run
new identities. a label. “The
“That was an exciting time,” remembers label, like myself, isn’t primarily motivated
Farrell. “I grew up at the tail-end of what by making money,” says Chris, “but if I don’t
you could loosely call acid house and when have it, I can’t put records out.”

28 OCTOBER 2018

Tom Ford, aka Peverelist
That might be the thing that’s kept him up
at night most often, but it isn’t how he judges
the success of the records he releases. “If
the artist is happy, I’m happy,” he says. “If
it sells well, even better. If people are still
playing it a few years later better still.”
One record he says was rather slept on,
though, was Kung Funk, a B-side cut on
Rachael’s You’re Driving Me EP in 2012. “I
feel it went a bit unnoticed. It was only ever
Harry Midland who got really excited by it,
which in fairness was enough.”
Running a label is a dark art. Knowing what
to sign and when, and just as importantly
what not to sign, even if the music is good, is
a skill that takes years of practice. “It isn’t a
precise science,” reckons Chris. “I’ve spent
countless hours in the pub chatting with
mates who run other long-standing labels
THE ART OF SELLING RECORDS
Record stores can be intimidating places.
Rumours abound that the quality of music
you get tipped on depends on your look
and your character. Is that true? We asked
Chris for the lowdown...
“I’ve been in enough record shops over
the years where people think they are
a bit special because they’re behind
the counter. I don’t want Idle Hands to
be like that. If I have something come
in secondhand that I know a regular
has been looking for, I’ll put that by for
them, but there is no elitism in terms of
new releases people get – it’s my job to
make sure I have enough copies so that
everyone who might want one gets one.
“We’ve have had many characters over
the years but these days most people
through the door are vinyl buyers or
curious locals. I still get a kick out of one
of my regulars who I’ve been serving for
10 years or more still calling me Marky.
I’ve completely given up telling him my
name is Chris.”
and we can’t figure it out. I just know when
I know. A tune does need to have that ‘Idle
Hands’ sound though. I did a podcast last
year where they asked it to be all Idle Hands
releases, and I was pleased at how much of
the back catalogue stands up.”
Chris recognises that a lot has changed
since the label’s first release. “Bristol has
changed, the music industry has changed,”
but what hasn’t is his relationship with
Peverelist, so it was always going to be he
who produced the label’s 50th EP.
“Tom is now established as one of the UK’s
most forward-thinking producers of the last
20 years,” beams Chris. “When the first
record came out, we were both working in a
crumbling record shop, maybe smoking too
much, and wouldn’t have thought we would
still be doing music nearly ten years later.”
HEYMUSIC.COM 29
FEATURE MUSIC BY NUMBERS

AMSTERDAM
DANCE EVENT
Since its inception, Amsterdam Dance Event
has grown and flourished into the king of
electronic music conferences. Each year,
a who’s who of the dance music world
descends on the city for five days crammed
with panels, workshops, showcases, tech
demonstrations and parties – lots and lots
of parties.
A networking haven, ADE attracts top-flight
DJs, artists, label managers, technology
giants, publishers and promoters through
to bedroom DJs, unsigned producers and
legions of dance music fans. It’s where deals
and discussions take place by day and
dancefloors are destroyed by night.
“We’re almost at the point of reaching the
magical 400,000 visitors mark, and we still
see lots of opportunities to grow,” says ADE
Director Richard Zijlma, as he prepares for
this year’s event to kick off on 17 October.
“ADE aims to be a world stage for musical
talent and the music industry,” he adds.
“With visitors from almost 100 countries now
you can confidently claim that Amsterdam
is truly the beating heart of the worldwide
music industry during ADE, while being at
the same time a breeding ground for cultural
and technological innovation for five days
and nights.”
Here’s ADE in numbers…

30 OCTOBER 2018
 Launched: 1995

Duration of inaugural event:

3 days

Attendance at inaugural event:

300 delegates with
30 DJs performing

Duration today: 5 days from

17 – 21 October 2018

No. of artists: over 2500

No. of professional delegates:

9000

Number of panels and

workshops: 120+

Number of speakers: 550

No. of venues: 140 across

Amsterdam’s 5 main districts

No. of festival visitors: 395,000

from 90 countries

No. of festival visitors expected

this year: 400,000

Focus country this year:

South Korea – the 8th largest
music market in the world,
generating $4.7 billion in global
sales last year

HEYMUSIC.COM 31
 FEATURE KATHY SLEDGE

P L AY
Watch the full
interview on Hey Music’s
YouTube channel

L OST
IN
M U SIC
Kathy Sledge, of Sister Sledge fame, opens up about her
long career and colliding with destiny
Words_Aasha Bodhani

32 OCTOBER 2018
 The
“ most innovate artists are
the ones that write from
the heart and follow their
passion. You can’t fool your audience, if you
try and write songs that aren’t really you, it’s
always going to be hard to perform.”
With a career spanning five decades, Kathy
Sledge is well placed to give advice on how
to master the music industry. Philadelphia-
born Kathy and her older siblings Debbie,
Kim and the late Joni, formed Sister
Sledge in 1971 and became one of the
most successful female supergroups of the
disco era, a time epitomized by DJ David
Mancuso’s sets at The Loft and also by New Sister Sledge: the early years
York’s infamous Studio 54.
“I remember back then, I was actually a Sledge presents: My Sisters & Me, a concert
minor; I got the chance to go [to Studio 54] series where Kathy and an array of singing
and our mum was with us,” recalls Kathy. “I ‘sisters’, including Deniece Williams, Karyn
wasn’t allowed to drink, but I watched. It was White and CeCe Peniston, perform classic
like a movie where the music just brought hits. Kathy also tells her own intimate story,
everyone to life. I definitely feel like I grew up dubbed the Sister Sledge Storybook, where
in that era...” she performs songs that define her journey.
Kathy and her sisters were trained by their “As I’ve been putting these productions
opera-singing grandmother, Viola Williams, together, it really is the music that’s the
and were first billed as the snappily-named backbone of the most successful plays;
Mrs Williams’ Grandchildren. At the age it’s all there, all the mechanics to make it
of 14, she took vocal lead on Mama Never happen,” Kathy says with passion.
Told Me, which became a Top 20 hit in Though disco lost mainstream popularity,
the UK in 1975. plenty of modern
After record label day artists have all
Atlantic hooked the “It really is the music made a nod to it in
girls up with Nile that’s the backbone their productions,
Rogers and Bernard including Daft Punk,
Edwards, of Chic, of the most Pharrell Williams,
their 1979 released successful plays” Justin Timberlake and
We Are Family Bruno Mars. “It’s funny
album catapulted because disco, dance,
them to superstardom. Songs from that whatever you want to call it, has reinvented
album – We Are Family, He’s the Greatest itself to a whole new generation. The
Dancer and Lost in Music – remain evergreen newness of that is really cool, it’s special,”
party classics known around the globe. reflects Kathy.”
Kathy, who departed the band in 1989 Looking back, Kathy knows what advice
to pursue a solo career, can call herself a she would now give to her younger self. “Be
singer, songwriter, author, manager and more daring,” she says. “I would always get
producer these days, but the stage still holds offered to do solo projects, but I was like,
a certain thrill. ‘No, no, we’re in a group’. But I like the fact
She won plaudits for her journey into new that I did the family thing.”
terrain with her critically acclaimed show, The most important thing, she says, is
The Brighter Side of Day – a tribute to the always to be true to yourself. “A colleague of
’40s and the legendary Billie Holiday, and mine says, ‘When your passion meets your
with her sisterhood roots, she created Kathy purpose, you collide with destiny’.”

HEYMUSIC.COM 33
FEATURE OPINION

LET’S
TALK
ABOUT IT
contributor Mosely Trybez
from S4Freshness.com thinks it’s
time for more conversation – and Kanye West

action – surrounding the mental

health crisis in hip-hop

Over the past five years, the

hip-hop aesthetic has
been reimagined. The definition of what it
means to be a rapper has been redefined.
Artists have become much larger entities
outside of music; in some instances the
quality of music they release takes a
backseat to the social influence they wield
over the listener.
Standards for those nominated into this
industry have been lowered. A blueprint for
success has been laid out in order to gain
fans’ attention, but it’s not the same blueprint
left to us by Jay-Z back in 2001.
Sure, rappers like 2Pac Shakur, Chuck D
and Queen Latifah transcended their musical
careers with social and political impact, but
today – in the “microwave era” – the majority
of newer artists are able to assemble cult-
like followings at lightening speed.
Artists who command hip-hop today are
getting younger. How do they cope with this
responsibility? Are they prepared for the
demands? Mental health is a swiftly growing
and very real concern.
Kid Cudi
Back in 2016, Drake and Kid Cudi got into
a spat that left some questioning Drake’s
sympathy toward those who deal with mental
and emotional distress. In Drizzy’s track Two
Birds One Stone, he rapped at Cudi: “You
were the man on the moon/Now you just go
through your phases/Life of the angry and
famous/Rap like I know I’m the greatest/Then
give you the tropical flavours/Still never been
on hiatus/You stay Xanned and Perc’d up/So
when reality set in you don’t gotta face it.”
What was then looked at as a harsh few
bars was accompanied by some jarring truth.
Drugs have become a trendy remedy to cope

34 OCTOBER 2018
 Lil Peep
Mac Miller
with the stress and responsibility brought
on by the music business. Last November,
21-year-old rapper on the rise Lil Peep died
from of drug overdose and, more recently,
26-year-old hip-hop star Mac Miller’s death
was drug related.
Just as Morpheus told Neo, the rabbit hole
is deep. Hip-hop is littered with artists who
don’t know they’re suffering; there are music
moguls enabling said artists and listeners
who are affected directly. Artists like J. Cole,
who make a conscious decision to use
their music to champion a healthy lifestyle,
are outnumbered. Trap-rap has morphed
into drug-infused-rap and the kids love it,
streaming platforms allowing consumption
without filter. Life imitates art; if our curators
are doing what we all love from a destructive
mind state, how long before impressionable
fans follow suit?
All genres of music have this issue to
tackle. Earlier this year, international pop
star Demi Lovato found herself in the midst
of an apparent overdose. She had been
battling mental illness and addiction for
years. Fortunately, she was immediately
hospitalised after overdosing, which saved
her life. The electronic dance music scene
was sent reeling when world renowned EDM
DJ and producer Avicii committed suicide
while on holiday in Oman. He was 28. Even
Hip-hop is littered
with artists who
don’t know they’re
suffering
Kanye West took his own approach to telling
the world that he may be in need of help by
captioning his June released Ye album cover
with the statement: “I hate being bi-polar,
it’s awesome.” It’s not uncharacteristic of Ye
to be controversial but this message gave a
little more cause for pause and reflection.
There’s been a concerted effort to bring
mental health issues to the fore in the dance
scene. The Association for Electronic Music
has teamed up with Help Musicians UK to
provide a 24/7 support hotline, while last
year Pioneer DJ Sounds released Why We
DJ – Slaves To The Rhythm, an eye-opening
film that illuminates mental health issues in
electronic music.
More and more artists are now being open
about their fight with mental health and drug
abuse. But there’s a tonne of work needs to
be done to fully address the situation. We
need to talk more. We need to continue to
have these conversations and ensure they
always take precedence over mundane
subject matters so we can battle mental
health issues in hip-hop more effectively.
HEYMUSIC.COM 35
FEATURE RAMZ

P L AY
Listen to Ramz’ top tunes
on Hey Music’s
YouTube channel

MAKE
BELIEVE
From stacking supermarket shelves to chart success and
award nominations, it’s been a whirlwind year for Ramz
Words_Chelsea Garwood

36 OCTOBER 2018
 When you released Barking, did you think
it would ever reach No.2 in the charts?
Not in a million years! Honestly, to see how
far the song has grown from performing it at
showcases to packed out radio events is an
unexplainable feeling, and one I’ll definitely
treasure forever.

If ever there was a great example of

believing in yourself, Ramz is it. When
his two nominations in GRM Daily’s Rated
Awards were announced earlier this year – for
Breakthrough [Artist] of the Year and Track
of the Year for Barking – the young artist told
his fans on Twitter: “Less than a year ago
someone said to me that I should stop music
because I was embarrassing myself. I told
myself I can do anything I want if I put my mind comments?
to it.”
While he might not have
walked away with any
gongs from the recent TOP 5 FAVOURITE SONGS?
awards ceremony in 1. MoStack What I Wanna
London, he can be proud 2. Ella Mai Boo’d Up
of an incredible year that 3. Raye Confidence
started with his Barking 4. Burna Boy feat J Hus Sekkle Down
track peaking at No.2 in the 5. Fredo Never
UK charts in January.
catches up with
the talented young singer, songwriter and
rapper from Mitcham, South London…
We reckon you’re having a pretty
momentous year so far…
I’m grateful with how everything’s gone. During
the early part of the year everything was going
so fast, which is nice, but it’s also nice to be
able to have time for new upcoming work you
want out.
Your Two Sides of a Coin EP, released in
June, featured Trapped and Get Whatever I
Want Or Like. What inspired those?
I was at a point where everything was moving
so fast as I was still very new, with scenarios in
the scene both positive or negative. I wanted
to put out how I was feeling at that moment of
time and let my supporters see a side of me
not many see, hence Two Sides of a Coin.
The two-single release was essentially put
into in a mini EP format so that was just a
snippet of what’s to come from me.
What’s the most important thing you’ve
learned from experiencing sudden fame?
Never take your supporters for granted. There
is always someone coming up next and your
fans are the reason you will continue to grow,
in my opinion.
Being in the public eye can be hard. How
do you deal with haters and negative
Always surround yourself
with good company and
ensure you never take
things too truly. In the
world of social media
everyone has an opinion
and as an artist in this era
you just have to be able to
adapt and remain relevant
for the right reasons.
Your track Family Tree [released in April] is
about growing up with people you love in
Mitcham. What are your fondest memories
of Mitcham?
Just the town as a whole. The local football
cages we would play at, the back streets
where we would ride our bikes, and even the
youth club where I dominated at table tennis.
It made my friends’ memories and mine and
gave us the somewhat togetherness we carry
today.
Who would be your dream collaboration?
J Hus. He is probably the best right now in our
scene.
What advice would you give to young
upcoming artists?
Always believe in your ability and the process.
It won’t be easy but it’ll definitely be worth it.
What can we look forward to from you?
A full EP incoming and surprise collaborations.

HEYMUSIC.COM 37
BACKSTAGE

BOSSING IT!
UK-based Nikki Wright-McNeill runs her own PR company, working with a
worldwide network of journalists, broadcasters, bloggers and tastemakers
to spread the message about artists, music festivals and events.
Here, she gives a quick insight into her route to becoming her own
boss in the music industry…

“My first job was as a receptionist at V2 around the world to media in the UK and
Records, where I actually made tea for internationally. Celebrating 10 years of Global
Richard Branson. As a girl, there were limited was a fantastic milestone to reach and gave
options to get into the music business at me an incredible sense of achievement with
the time and you had to start at the bottom clients such as Secret Solstice [Iceland], Exit
as receptionist or PA. After missing out on Festival [Serbia], Amsterdam Dance Event,
the marketing assistant job that went to Lowlands [The Netherlands] and Sziget
the post boy because I was apparently ‘too Festival [Hungary].
valuable on reception’, I got my first job in “I feel lucky to be in a position to only
PR at Pioneer, who were launching their own work with clients I truly believe in, giving me
record label. This gave me my first real taste an authentic and trustworthy voice in the
of the music business and I was hooked. industry, which I feel is important. I have to
“After Pioneer I worked at Neo Records, be true to myself and honest. I also enjoy
working on artists constantly learning as
such as Darude in I regularly contribute
the height of the “I feel lucky to be in to industry panels at
trance explosion music conferences.
in the late ’90s, a position to work “The industry has
before moving to DJ with clients I truly changed since the
agency IMD where early days. The biggest
I was lucky to work believe in” difference is that when
with artists such I started I could just
as Pete Tong, Jeff Mills, Danny Rampling concentrate on what I was doing. Now it
and Smokin’ Jo. The DJ agency also gave feels like you have to watch your back, with
me a taste of how global the industry was more people on the prowl for your clients or
and how many amazing clubs and festivals your clients are bought by private equity
there were around the world, and that was firms. I still believe there’s enough [work] for
something that really excited me. everyone in the industry, but having that
“In 2007 I launched my own company, thought in the back of your mind does take
Global Publicity, specialising in promoting some of the fun out of it. I just want to work
artists, festivals and music-led events with people I like and on projects I love.”

38 OCTOBER 2018
 HEY UPFRONT

BRITISH
COMPOSER
AWARDS 2018
TUESDAY 4
DECEMBER
BRITISH MUSEUM
LONDON

NOMINATIONS ANNOUNCED
MONDAY 1 NOVEMBER

Contact awards@basca.org.uk
Website britishcomposerawards.com
Twitter @ComposerAwards

Presented by Sponsored
nsored by
Sponsored by In association with The British Composer Awards promote the art
of composition, recognise the creative talent of
composers and sound artists, and bring their
heymusic.com_Oct.2018_39
music to a wider audience.
HEY UPFRONT

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